top of page

The Heart

of Winter

Transformation through surrender

Version 01, published June 2026

Scroll down to browse the project

I. The Bluff


In the crisp atmosphere of the fading light I walk the bluff.

 

Kissed by the hovering Pacific fog, the Southern light cuts through the grey to sweep in misted golden bands over the hunched breakers. The waves cling sternly to themselves, as if deep in anxious contemplation, vanishing on the soft-focus horizon. The day is dimming at its margins; the dusted sage green and salted yellow sprays of woolly sunflower are merging imperceptibly to a uniform accord of heather-mauve: sparrow’s ruff, powdered shale. The taste of diatomaceous earth.

 

The tired bluffs are frozen seafloors shouldered up and beyond the reach of the clawing surf; a monumental plateau. Their hollows are inhabited by children of vagrant ages, sleeping witnesses to the crumbling of a long-forgotten order. Sunlight catches in the sparrow’s beak; the same song sung a thousand generations ago. Salt sprays the cliffs. The fossils fall back into the sea: silent millstones caught in the throat of a vanished river, its language unknown. In stead of its voice, only the Northwest wind blows.

 

Swell muscles around the point, pulling its course parallel to the ragged tireless shale who will accede to break it again and again. Now it is running and cutting to a broad reach, preparing for the last giving of energy for which it has waited. Breaking its fast. Tearing hungrily across the crooked teeth of stone. Resting. Oscillating silently across the vast face of the Northeast Pacific.

mdo-bluffs.jpg
Woolly Sunflower - Master
Sperm Whale, painting by Derek Schultz

I stare at the sinusoidal curves disarranging themselves over and over in the sudden excitement of compression. In the vague distance, figures bob in and out of view: sleek wetsuits, skin turned to lustrous seal-hide, spring-loaded shortboards held down with latent buoyancy, waiting for the coming set.

 

I study the surfers as they wait. My memories roll like cobbles on a steep shore, turning to the South Coast of Big Sur, and the lost sage who drank the sea:

 

“You and I are all as much continuous with the physical universe as a wave is continuous with the ocean.”

 

The longer I stare at the waves, the less my own identity seems self-evident, and the more I feel myself disappearing into a complex geometry of energy threads, echoing from unknown fountains across vast fetches of empty space, now caught in an elaborate dance of molecule and motion – a temporary waveform registered on the face of a mirror plane, the unbroken vitreous lustre of the water’s surface.

 

The waves oscillate the water molecules up and down in a circular orbit, but the molecules do not move forward with the wave. The swell passes over and through them, and they remain, spring-loaded, awaiting the next. Every thousandth moment, the angle of the water’s surface reels to catch the fading winter sunlight, sending a spark arcing toward me through the heavy breath of the air. Transmuted starlight: the momentary spark is a stylus inscribing the blank clay tablet of my mind.

 

My feet hold fast on the crumbling precipice of dead shells and thousand-aged mud frozen solid. In the cove below me the feather-boa kelp dances sinuously beneath the fluorite surface – auburn strands of fringe galloping like an endless film reel of wild horses. The seaweed shelters the floor of the cove. Rainbow rivers of gravel slip downward in billowing cloaks of shadow and bursts of flourescent-grey sky. Beneath the canopy is a verdant grotto; it offers respite to the darting sleepless fish and the creeping shelled crustaceans on their endless pilgrimages across the inundated sand-sea. Somewhere among the waterlogged wrack, the eye of an octopus watches – a spark of intelligence like the glare of a lantern under the velvet cloak of night.

I am seduced by the dancing of the kelp forest. Its rhythms entwine my thoughts until we become a synchronized consciousness. We enter a silent polyrhythmic discourse on the prevailing winds, the upwelling subcurrents, the annually-renegotiated bathymetry, the sea surface temperature, the tang of acidity from dissolved gases alighting on my tongue. The acrid touch of salt. Mineral-memory. Time. The longer I gaze into the teal-and-jasper face before me, the more I am unnerved by the sensation that I am staring myself down. My arms and legs emerge in the swaying kelp; they are carved of lucid black nephrite, washed down the dead streams and trapped in the littoral tumbler, combed smooth of their rough edges, their memories of awkward, stumbling motions. Now made of dark viridian stone, my hands are released of their grasping. My torso is made clean again, its blemishes cooled to a fine polish, finally stropped into calm by unthinking eons of wave action. And I see my face. Once diamond-cut, its translucent green features are now equalized. Left in their place is the smooth wear of an ocean-borne stone. Every part of me is jade: from the inner caverns of my bones to the swirling fugaces of my tangled hair, the slow motion acrobatics of my tongue, the reticent stiffness of the tendons in my fingers – all has been burnished in the vivid green of oceanic amphibole.

Frosted Glass, Morro Bay
Livyatan: the eye of a humpback whale. Drawing by California fine artist Derek Schultz.

I break my gaze from the kelp. It feels like the breaking of two magnets. The light is nearly gone now; the pervasive grey has begun to turn a bruised hepatic shade of violet.

 

Far beyond the rolling charcoal cords of water, the spouts of whales appear; tiny eruptions of breath. They mingle with the day’s final glimmer, charged with the ambrinol of thoughts born in the lightless depths and now carried up to be set free on the liminal boundary between sea and sky.

 

Over the hill, deep in the fog, a tallow candle is lit behind a salted pane in ritual acknowledgement. Dusk has stepped through the doorway.

 

I turn into the wind, shrugging my wool coat close to my neck, and step to the North along the old bluff trail.

Sperm Whale & Diver, original painting by Derek Schultz

The Heart of Winter

Purchase works from the project

Dive Deeper into Winter

 

The Winter Canon

Art is not an individual endeavor, but a living work of community and culture across time. The following is a selected list of aesthetic works by other visionaries who have spoken to my heart in some way, and whose creativity helped to inspire my vision of The Heart of Winter.

Books

 

  • Waves and Beaches by Willard Bascom and Kim McCoy

  • Moby Dick or, The Whale by Herman Melville

  • The Conference of the Birds by Farid ud-Din Attar

Photographs

 

  • Woman and Thistle by Wynn Bullock

  • Fog by Eleanor Parke Custis

  • Whalers from the Abraham Larsen Flensing a Blue Whale by Terry Tribe

  • Kelp in Crystal Clear Surf by Doug Sonerholm

  • Various untitled wave photographs by Shaun Smith

Prints

 

  • Cormorants by Walther Klemm

  • Barkley Sound by Takao Tanabe

  • Stormy Seas by Arthur Rigden Read

  • Kunst und Mammon by Fritz Hegenbart

  • Cormorant Diptych No. 19 by Imao Keinen

  • The Five Day Hurricane by Albin Brunovsky

  • Fin Whale by Ewa Medrek

Perfumes

 

  • Oud Minérale by Tom Ford

  • The Grudge by Beaufort London

  • Golden Ambergris by Anonim

  • Aqua pour Homme by Bulgari

  • Every Storm a Serenade by Imaginary Authors

Music
 

  • Amnesiac by Radiohead

  • Sea Island by Loscil

  • L'Incoronazione di Poppea by Biosphere

  • Clair Cassis by Clair Cassis

Cinema

 

  • Vertigo by Alfred Hitchcock

  • Stalker by Andrei Tarkovsky

  • Maborosi by Hirokazu Kore-Eda

  • The Edge of the World by Michael Powell

  • The Lighthouse by Robert Eggers

  • The Innocents by Jack Clayton

© 2025 Derek Schultz

bottom of page